《疾速追杀3》视效解析John Wick: Chapter 3 – Parabellum – Without VFX [Image Engine VFX Breakdown]

From incredible hand to hand combat with knives and guns to fighting with horses and guns, John Wick – Chapter: 3 featured all sorts of creative and unbelievable, places to have a bit of a scrap.
Yes, modern-day VFX allow storytelling (and fight scenes) to get crazier and crazier, while at the same time still looking, somehow, believable.
One good example of those incredible VFX sequences is the infamous bike chase over the Verrazzano-Narrows Bridge.

Image Engine delivered only 8 VFX shots for this scene. But that didn’t mean that there wasn’t much work involved. With shots as long as 1000 frames, full of extensive and complicated CG, plate stitching and comp integration, Image Engine certainly had their work cut out.
Creating assets that had to be photoreal while also matching practical ones. Creating seamless camera transitions between the Verrazano bridge footage and greenscreen shots while, at the same time, matching the animation style to the live-action stunt shot. As well as adding extra realistic-looking VFX elements and executing perfect 2D integration.

The sequence was made by combining on-location shots of professional stunt drivers riding at 100km/h, as well as some rigged crash stunts with dummies, on the Verrazano Narrows Bridge and some less impressive-looking shots of Keanu and the guys sat on bikes in front of a green screen while being pushed around by some other guys in green zentai suits, for the close-up shots.
In order to allow for seamless transitions between shots, they paid careful attention to both action and camera movement choreography.

To get a seamless transition between the riders and bikes, they took cues from the shots of the Verrazano Bridge stuntmen.

Of course, Keanu’s face also needed to be added in some shots. But, unfortunately, only one take of Keanu riding on the real Verrazano bridge was filmed so that take was inevitably the one that was used for the base of the 2.5D face replacements as it had the correct lighting on it.
They also created a 3D face replacement of Keanu using cyberscan and some texture photography while creating his hair in Houdini.

Stitching together the real shots with the greenscreen ones required a mix of cutting out bikes frame by frame and tracking CG objects and backgrounds all to the live-action footage.

Getting the animated CG background to perfectly match the real moving one is really where the magic of this shot lies and Image Engine have absolutely nailed this!

Like the music in this video?

Music By: Monkey Media
Album Title: Monkey
谷歌翻译：
从不可思议的肉搏战刀枪与马和枪，捍卫任务战斗 – 第三章：3功能的各种创意和令人难以置信的，地方都有点废料。
是的，现代VFX允许评书（及打斗场面），以获得疯狂和疯狂，而在同一时间还在寻找，不知何故，可信。
这些令人难以置信的视觉特效序列的一个很好的例子是在Verrazzano-Narrows大桥臭名昭著的自行车追逐。

图像引擎仅提供8特效镜头的这个场景。但是，这并不意味着，有没有涉及太多的工作。随着镜头只要1000帧，充分广泛和复杂的CG，平板拼接和补偿一体化，图像引擎当然有自己的使命。
创建必须是照片般逼真感，同时也匹配在实践的基础资产。维拉萨诺大桥的画面和蓝绿镜头之间创建无缝的镜头内转，同时，在同一时间，动画风格相匹配的真人特技镜头。除了增加额外的逼真生动的特效元素和执行完善的2D集成。

该序列结合的专业特技车手外景拍摄骑在百公里每小时发，以及一些操纵崩溃的特技假人，在韦拉札诺海峡大桥和基努一些不太令人印象深刻的前瞻性次出手的家伙坐在自行车在同时推来推去的绿色西装紧紧的一些其他球员，对于近距离拍摄绿屏前。
为了允许拍摄之间的无缝转换，他们支付小心兼顾动作和摄影机运动舞蹈。

为了让骑手和自行车之间的无缝过渡，他们听到了提示韦拉札诺桥特技的镜头。

当然，基努的脸上也需要一些镜头添加。但不幸的是，在实际维拉萨诺大桥基努骑只有一个起飞的拍摄地，这样拿是不可避免的是被用于2.5D面部替换的基础，因为它有它正确的照明之一。
他们还利用cyberscan和一些纹理拍摄，同时创造了霍迪尼头发创建的3D面部替换基努。

拼接与蓝绿那些真正的镜头一起要求的框架切割出自行车框架和跟踪对象CG和背景都到现场片段的混合体。

获取动画CG背景完美地匹配真实移动一个真的在那里这个镜头的谎言和图像引擎的魔力已经完全钉这个！

如在此视频中的音乐呢？

音乐人：猴子媒体
专辑名称：猴